I've been using Resolve for grading and finishing for 7 years, originally a dual Avid Symphony Nitirs/Resolve, and later an Autodesk Smoke/Resolve. About 3 years ago I gave up Avid and Smoke entirely and do 100% of my work in Resolve. I have never worked with any product that developed so much in such a short time, and BMD seems to really listen to it's customers. The editing tools have become very sophisticated, and the integration of Fusion is huge - to be able to go directly from an editorial timeline into deep compositing - it's a virtual Smoke). I have edited in Resolve and found it very intuitive, but I'm primarily a colourist and finishing editor. The company I work for does only episodic television and movies - drama, animation, and documentary. Some projects are edited in house, others not. 99% of the projects I work on are offlined in Avid. Our editors particularly love Script Sync and Phrase Find. Our tracklay and mixing is 100% ProTools. But all things change.
I don't think there will ever be one product that fits all. I would give Resolve a try, and see if it works for you. Editors I met that have experience with Premiere and FCP found Resolve very intuitive. There is a good Resolve 101 course, by BMD, available on Amazon called, "The Definitive Guide to Resolve 15" which gives an introduction to media organisation, editing, grading, Fairlight and Fusion, with downloadable media. Later this month, there will be two more titles, Advanced Editing, and Advanced Colour Grading. A Fusion course should be out in December.
Cheers, Scott
On Sat, 3 Nov 2018 at 03:04, <Avid-L2@yahoogroups.com> wrote:
3 Messages
Digest #11075
Messages
Fri Nov 2, 2018 6:43 am (PDT) . Posted by:
"RRF Avid" rrfavid
Seconded on the track based audio effects.
I too use them all the time, and prefer Avid's implementation and usability.
But I have gotten Adobe's to work well enough that it is not a reason for me to go back to Avid.
- rich
> On Nov 1, 2018, at 2:21 PM, eatapc@mac.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
>
> I do not find that it crashes much, knock on wood. My biggest problem with audio is probably with the track-based effects, which I use all the time (as I do in Avid). There doesn't seem to be a way of saving audio-effect presets. In Avid I just drag them to a bin to organize and re-use them; in PP there is no save function for audio effects. This has been a common feature request for years.
>
>
> Further, there's no way to re-order the track effects. Obviously if I add EQ, compression/limiting and noise reduction, it makes a huge difference which order they're applied. If I change my mind later, I can't try different presets in different orders.
>
> One reason I upgraded to CC 2019 is that I was hoping some of the feature requests would be implemented, but there's nothing that is of great interest to me. Because the app sucks, I keep updating it and hoping for improvement. With Media Composer, the default mode is to not screw with success.
>
>
Fri Nov 2, 2018 9:51 am (PDT) . Posted by:
"RRF Avid" rrfavid
All,
I have been using Premiere Pro almost exclusively for the last three years after 20+ years on all flavors of Avid and several overlapping years on FCP 6/7. I didn't make the switch lightly and tried it out on several smaller projects before fully adopting it. I also teach Premiere to cinema students part time, which has helped me to find some of the more hidden goodies within it.
Generally, my experience with PP has been fine, and I appreciate that it has come a long way. But like any complex piece of software, it has quirks and/or bugs that can test one's patience.
Also, ever since working on the Avid DS for long-form finishing 15 years ago, I have always wanted an application that had well implemented editing, color and sound in one box. The DS was on its way to being that, but not quite there. Then of course it was EOL'd.
When Resolve 14 was released (and since moved to 15), I got very interested... Having come up through sound post along ago I have a particular interest in audio. I was intrigued by the Fairlight DAW as well as its new editing capabilities. Obviously color is its strength.
Resolve 14 looked great in theory, but after trying to put a moderately complex project through it in 2017 and having all kinds of issues I gave up on it.
One other thought - as I tell people, I don't get emotional over software and I don't evangelize either (well, I try not to). I just want the best tool for the job.
So my question: is anyone having sustained success with the latest version of Resolve for long form creative editing along with finishing/audio/color?
Thanks,
- Rich
Fri Nov 2, 2018 2:32 pm (PDT) . Posted by:
"Keoni Tyler" film35hd
Great question, and as with most things, we can often find answers for our present and future by taking a look at our past.
In the traditional linear editing suite, before personal computers had the power to host NLEs, everything was separate: You had the brains of the edit controller, the VTRs and DDRs to provide picture, monitors, audio mixers, a switcher, test scopes, etc.
A production well-budgeted would move to a sound mix studio, then a tape would comeback for the video editor to layback that finely mixed stereo track...
When Quantel invented the very successful Paintbox/Harry/Henry/Harriet/EditBox – the 'Photoshop and After Effects' of its day. I still keep those machines alive when I mentor people, as I do a linear edit suite. Those were dedicated machines that focused on doing one general thing well. It didn't open your e-mails, browse the web, or do Microsoft Word. It was very fast and focused, plus, you wouldn't tie-up a seat while waiting for graphics/animation.
I have deep experience with DaVinci since it was "daVinci" in its $150,000+ days, when it did one thing well. I would like to see Blackmagic keep Resolve focused on "Finishing/Deliverables," and not try to be all things to all people, because, as a former, published coder, I know how complex it is to do any real-time video on a personal computer – hence why it took us so long to get NLEs to do "broadcast quality" (the first Avids for years was VHS quality for that reason).
As they keep trying to make Resolve an "Avid/NLE," and a "Pro Tools," it becomes clunky. Its interface was really designed for Color Grading. Having only 1 or 2 video tracks is easy; but for many in TV or effects-driven timelines, it gets complicated and cluttered, and I've never seen it better than on Avid Media Composer.
IMHO, this is why Avid is wise to not try and make Media Composer do "Pro Tools."
In almost all of the places I have Post Produced, Edited, Asst. Edited, Supervised or done Workflow consultation for, the Avid/PPro roundtrip to DaVinci was the best solution (all on ISIS/NEXUS) – if a simple fade or trim or title change had to be done and we were rushed for delivery, sure, we could do it in Resolve and be done with it, but being sure to re-conform that originating Avid timeline before archiving/deep cold storage. In rare cases, it still went back to Avid one last time before deliverables.
Doing complex, creative off-line/on-line editorial in Resolve has been tried, but it is challenging other than the simple, feature film "cuts" – where the cut has to be INVISIBLE, for the sake of the story. When doing car enthusiast videos for MotorTrend or 15-layer effects for a CBS Sports promo, there is a start of 5-8 video tracks and often it goes to 15 tracks – this is where the cuts, dissolves, DVEs, traveling mattes are VISIBLE, and we want them to be for its sizzle. In my humble opinion, Avid is king in this and media management regards.
If Blackmagic bought Avid one day, and it was an icon click away in its own interface and not Resolve's – only then would it make workflow sense.
----------------------------------------------------------
Keoni TylerKitchen Table Editorial | HollywoodAll major tape formats in Machine Room
310.360.0228Keoni.Tyler.KTe@Gmail.com
On Friday, November 2, 2018, 1:32:57 PM PDT, RRF Avid rrfavid@hotsprocketfilms.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
All,
I have been using Premiere Pro almost exclusively for the last three years after 20+ years on all flavors of Avid and several overlapping years on FCP 6/7. I didn't make the switch lightly and tried it out on several smaller projects before fully adopting it. I also teach Premiere to cinema students part time, which has helped me to find some of the more hidden goodies within it.
Generally, my experience with PP has been fine, and I appreciate that it has come a long way. But like any complex piece of software, it has quirks and/or bugs that can test one's patience.
Also, ever since working on the Avid DS for long-form finishing 15 years ago, I have always wanted an application that had well implemented editing, color and sound in one box. The DS was on its way to being that, but not quite there. Then of course it was EOL'd.
When Resolve 14 was released (and since moved to 15), I got very interested.... Having come up through sound post along ago I have a particular interest in audio. I was intrigued by the Fairlight DAW as well as its new editing capabilities. Obviously color is its strength.
Resolve 14 looked great in theory, but after trying to put a moderately complex project through it in 2017 and having all kinds of issues I gave up on it.
One other thought - as I tell people, I don't get emotional over software and I don't evangelize either (well, I try not to). I just want the best tool for the job.
So my question: is anyone having sustained success with the latest version of Resolve for long form creative editing along with finishing/audio/color?
Thanks,
- Rich
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